The lines in the epigraph above are spoken by C-Roc, a character in the youth coauthored play Brazil, as he talks with a friend who has come to visit him in jail. In his words, readers and audiences are offered an invitation to consider the new realities that a young man facing the possibility of life in prison confronts while awaiting his trial. But these are more than just lines of dialogue and more than a signifi er of someone’s recollection or experience. The lines of a play can also be read as embodying the traces of the context in which the script was born, the imaginations through which stories were nurtured, and the relationships that coaxed scenes and characters into being. The script, the performances, and the many moments surrounding these artifacts comprise a way of enacting education that is premised upon the notion that the stories we carry with us outside the classroom and those we create together are as important as the stories we must master inside the classroom. In this chapter, we explore stories and the practices of re-storying-a concept that we discuss in more depth later-for how they shape youths’ educational experiences; that is, we explore the ways they are institutionally included or excluded and, in particular, the ways that one’s constantly evolving life narrative is welcomed in or excluded from educational spaces.